My uniform is sweatpants, so crusted over with dried paint that they're as hard as a table. I wear T-shirts that are also covered in paint, and Crocs.

It's not until the very last phase that you know how good the works are going to be.

I was never exposed to art school. I grew up in an artist's studio. I was exposed a lot of studio time between of my father and a great painter I studied with in Barcelona. That was my art school, as Europe was.

If you come every day or every month to my studio, you won't see that much change, but if you come once a year, you'll see big new categories opened up.

Most days, I practice piano in the mornings and I spend the rest of the day painting.

People see so many things in the paintings. Although I never think of them, it charms me a little bit that people actually project actual scenarios on to the paintings. Hopefully that means that they have a little bit of life to them. Figuring out the rhythm, the structural element has been the key thing in this work, more than the color element. It really was the variety of different widths that lead to a certain movement, a rhythm. Otherwise I'd fall into anything that was too stripy or almost like bar codes, and it thwarted the natural flow of the painting.

I'm not particularly interested in painting, per se. I'm interested in a painting that has that mysterious life to it. Anything that doesn't partake of that magic is halfway dead - it returns to its physical elements, it's just paint and canvas.